Sept. 13. (Sat.) Charles Aznavour. The great French singer/songwriter makes a rare Southland appearance celebrating his 90th birthday. The performance will be a banquet of classic songs, sung by one of the iconic figures in the history of international song. The Greek Theatre. (323) 665-5857.

Copenhagen

Sept, 13, (Sat.) Robert Lakatos. Hungarian jazz pianist Lakatos, one of Europe’s most highly praised jazz artists, is joined by Denmark’s Jesper Lundgaard, bass and Alex Riel, drums in a convincing display of the stunningly high level of jazz artistry on the continent. Jazzhus Montmartre. +45 31 72 34 94.

Milan

The Bad Plus (Dave King, Ethan Iverson, Reid Anderson)

– Sept. 11. (Thurs,.) The Bad Plus. The creatively ambitious trio of pianist Ethan Iverson, bassist Reid Anderson, and drummer Dave King has been exploring new musical vistas since the 1990s, touching on everything from new views of the blues to their interpretation of Stravinsky’s The Rite of Spring. Blue Note Milano. +39 02 6901 6888.

– Sept. 6. (Fri.) Richie Cole Quartet. Bebop is always on the loose when alto saxophonist is in the room. And especially so when he’s backed by the propulsive backing of pianist Lou Forestieri, bassist Chris Colangelo and drummer Dick Weller. Jazz at the Radisson Hotel.

Blue Man Group

– Sept. 6 & 7. (Fri.& Sat.) The Blue Man Group. The musically and visually eccentric members of the Blue Man Group have brought a new supply of unique instruments to an evening of new music with the Hollywood Bowl Orchestra. Hollywood Bowl. (323) 850-2000.

– Sept. 8. (Sun.) ABBA Fest. A non-stop evening of music by the hit-making Swedish band. First, via a competition of collegiate a cappella Abba groups; second via a performance by the great tribute band ABBA, the Concert. Hollywood Bowl. (323) 850-2000.

Washington, D.C.

New York City

– Sept. 4. (Wed.) J.D. Walter. Jazz Standard. Walter is a singer who prefers to take adventurous musical pathways… which may explain why he hasn’t yet received the attention his singing deserves. The Jazz Standard. (212) 576-2232.

- Sept. 5 – 8. (Thurs. – Sun.) Cassandra Wilson. The jazz vocal genre has largely been dominated lately by fast-arriving young female artists. But Wilson continues to be a pathfinder with her own inimitable style. The Blue Note. (212) 475-8592.

Tokyo

– Sept. 3 – 5. (Tues. – Thurs.) Bob James & David Sanborn. James and Sanborn have pioneered their swinging versions of contemporary jazz fusion and crossover for decades – and doing it in memorable fashion. They’re accompanied on this tour by the equally imaginative drummer Steve Gadd and bassist James Genus. Blue Note Tokyo. 03 5485 0088.

.

– Sept. 6. (Fri.) Gregory Porter. At a time when the distaff side has been dominating most of the newly released jazz recordings, the warm baritone of Porter has been bringing impressive new interpretations to the the world of jazz vocalizing. Blue Note Tokyo. 03 5485 0088.

– July 11. (Thurs.) Trevor McShane. It’s really the nom de plume of singer/songwriter Neville Johnson, an attorney who has been pursuing his musical ambitions since the release of his first album in 2000. Molly Malones. (323) 935-1577.

– July 12. (Fri.) Cat Conner, Gene Cipriano, Robert Chiodini and Dick Nash. This impressive collection of L.A. jazz stars finish up their two year run at the Studio City venue, which is closing for renovations. The Out Take Bistro. (818) 760-1111.

– July 12. (Fri.) David Ornette Cherry. Pianist/composer Cherry, the son of adventurous jazz trumpeter Don Cherry, showcases his own ambitious talents in a program combining his original works with compositions by his father. LACMA. (323) 857-6000.

– July 13. (Sat.) Songfest Sings America: Celebrating Leonard Bernstein. A stirring evening dedicated to the far-ranging music of Bernstein, from West Side Story to On the Town and much more. Michael Barrett conducts and there will be a pre-performance conversation between Alan Chapman and Bernstein’s daughter, Jamie. Grand Performances. (213) 687-2159.

San Francisco

Halie Loren

– July 11. (Thurs.) Halie Loren. Award-winning singer/songwriter has been establishing herself as one of the most intriguing talents of her generation. Check HERE to read a recent iRoM review of a Loren CD. Yoshi’s San Francisco. (415) 655-5600.

– June 5. (Wed.) Sally Kellerman. Hot Lips is back again to display her inimitable way with a song. She’s backed by the superb support of the Andy Langham Trio. Vitello’s. (818) 769-0905.

– June 6. (Thurs.) The Josh Nelson Trio with Anthony Wilson. Pianist Nelson, one of the Southland’s important first-call players, is always a pleasure to hear with his own trio – especially when gifted guitarist Wilson is a musical guest.. Vitello’s. (818) 769-0905.

– June 6. (Thurs.) Joanne Tatham. “Soundtrack New York” Music From Movies Made in Manhattan.” Vocalist Tatham, adept at both cabaret and jazz has created a program of appealing songs based on an intriguing premise. Catalina Bar & Grill. http://www.catalinajazzclub.com (323) 466-2210.

– June 7. (Fri.) Prairie Home Companion. The entertaining Garrison Keillor and his live radio-in-living-color program make one of their rare appearances in the Southland. The Greek Theatre. (323) 665-5857.

– June 8. (Sat.) An Evening with Rufus Wainwright. Singer/songwriter has an impressive lineage: Loudon Wainwright III is his father; Kate McGarrigle is his mother. But he has already established a musical voice of his own. Valley Performing Arts Center. (818) 677-8800.

– June 8. (Sat.) Brenda Russell. The musically eclectic singer/songwriter Russell, whose career has moved through soul, pop, jazz and dance genres, is also a gifted lyricist and songwriter. Catalina Bar & Grill. http://www.catalinajazzclub.com (323) 466-2210.

– June 8. (Sat.) Andrea Bocelli. The hugely popular Italian singer performs with soprano Maria Aleida and the Los Angeles Festival Orchestra, conducted by Eugene Kohn. (Note that this is a lease event.) The Hollywood Bowl. (323) 850-2000.

Bill Cosby

– June 9. (Sun.) Bill Cosby. The wit, the humor and the engaging personality of Bill Cosby are irresistible. Retired from his role as emcee of the Playboy Jazz Festival, he performs in Los Angles a week before this year’s Festival takes place. Cerritos Center for the Performing Arts. (562) 916-8501.

Chicago

– June 6 – 9. (Thurs. – Sun.) Steve Turre Quartet. Trombonist Turre is always a pleasure to hear, whether he’s playing his primary instrument or displaying his remarkable ability to make music from conch shells. Jazz Showcase. (312) 360-0234.

Washington D.C.

Tuck & Patti

– June 7 – 9. (Fri. – Sun.) Tuck & Patti. After more than three decades together, the duo of guitarist Tuck and singer Patti (who were married in 1983) continue to make remarkable music together. Click HERE to read a recent iRoM review of Tuck & Patti in an L.A. performance. Blues Alley. (202) 337-4141.

– April 25. (Thurs.) Nutty. Seven piece Nutty is a one of a kind band, applying their ‘Mashups” style to a blend of “jazz and rock ‘n’ roll, served up with a swinging, old school Vegas swagger.” They perform at L.A.’s elegant new jazz room. H.O.M.E.l (310) 271-4663.

– April 26 – 28. (Fri. – Sun.) Bringuier and Thibaudet with the Los Angeles Philharmonic. An evening of French delights. French conductor Lionel Bringuier and French pianist Jean-Yves Thibaudet perform a program of Ravel and Saint-Saens. Disney Hall. (323) 850-2000.

– April 27. (Sat.) Larry Koonse – Alan Pasqua Duo. Two of the Southland’s most highly praised players, first call rhythm section experts and superb soloists in their own right, get together in a duo setting. Vitello’s. (818) 769-0905.

– April 28. (Sun.) The Susie Hansen Latin Jazz Band. She’s a blonde girl from the mid-West who plays violin, but Hansen has been providing some of L.A.’s most authentic and dynamic Latin jazz, salsa and swing for more than two decades. She’ll be joined by guest vocalist Valerie Petersen. Be prepared to dance in the aisles. The Huntington Beach Art Center. www.huntingtonbeachartcenter.org (714) 536-5258.

Boston

– April 27. (Sat.) Gato Barbieri. Veteran Argentine saxophonist Barbieri has moved across genres from the free jazz of the ‘60s to his Latin jazz specialties of the ‘70s and beyond. He’ll no doubt play his hit version of his music for the film Last Tango In Paris. Regatta Bar. (617) 661-5000.

– Nov. 24. (Sat.) Ahmad Jamal. The great jazz pianist, admired by Miles Davis, as well as his legions of fans, makes a rare Southland appearance. Renee and Henry Segerstrom Concert Hall. (714) 556-2787.

Copenhagen

– Nov. 22 – 24. (Thurs. – Sat.) Sinne Eeg. One of Denmark’s – and Europe’s – most admired jazz singers, Eeg celebrates the release of her new album, The Beauty of Sadness, recorded with a Danish national orchestra and her own quartet. Jazzhus Montmartre. (+45) 70 15 65 65.

Paris

Ravi Coltrane

– Nov. 23. (Fri.) The New Ravi Coltrane Quartet. John Coltrane’s gifted, saxophone playing son Ravi is keeping the creative legacy of his father alive and well. Paris New Morning. 01 45 23 51 41.

By Devon Wendell

Photos by Bonnie Perkinson

This year’s choice of performers at The 34th Annual Playboy Jazz Festival may have had both the serious jazz fan and struggling jazz musician recoiling in disgust, but even the most stubborn jazz aficionado can’t deny that fun and diversity dominated the festival.

Before covering Sunday’s highlights, we’ll follow up on Mike Katz’s Saturday review with a few additional thoughts about some of the outstanding moments in Saturday’s program.

The first is The Cos Of Good Music (Farid Barron: piano, Dwayne Burno: bass, Ndugo Chancler: drums, Tia Fuller: alto sax, Mathew Garrison: bass guitar, Ingrid Jensen: trumpet and flugelhorn, Babatunde Lea: Percussion, and Erena Terakubo on alto sax.) Out of all of these world class musicians handpicked by Bill Cosby, it was the three women of the reeds (Fuller, Jensen, and Terakubo) who stole the spotlight. The group’s rendition of the Ray Noble classic “Cherokee” (which helped a young Charlie Parker find his own innovative technique) was one of the greatest moments of the entire festival. During this difficult composition, Fuller, Jensen, and Terakubo, made it apparent that they are well versed in the vocabulary of both the be-bop and hard-bop genres. From Bird, Dizzy Gillespie and Miles Davis, to Phil Woods, John Coltrane and Lee Morgan, the ladies could do it all and without mere mimicking. They had their own feminine slant to the music, which made it even more special. No male musicians at the Festival could match the virtuosity of these young women. You would not believe that Terakubo is only 20 years old by her command, technique, and soul on the alto saxophone. Boney James (also on the bill on Saturday) could learn volumes from Terakubo.

Bill Cosby ant the Cos of Good Music

Cosby took the microphone and went into the humorous “Hikky Burr” (which Cosby had originally recorded with Quincy Jones in ’69), which gave Fuller, Jensen, and Terakubo a chance to show off their blues chops. They seemed totally at ease and didn’t sound like over-trained jazz musicians trying to play blues, which often happens on songs like this. Cosby’s vocals were playful and funny and became the perfect way to bid him farewell as Master Of Ceremonies at The Playboy Jazz Festival.

Seeing original Meter’s guitarist Leo Nocentelli with keyboardist Ivan Neville, performing The Meter’s classic “Hey Pocky A -Way” in this big band setting was a brilliant departure from the original recording from 1974. Big Chief Monk Boudreaux joined the band on his topical piece “Find The Levee And Burn It Down.” And Nocentelli’s wonderfully primitive bare bones rhythm guitar chops gave this Bayou swamp boogie a Reggae groove twist.

Sunday’s lineup was an eclectic mix of jazz, fusion, blues, and even pop. The attentive and well rehearsed Calabasas High School Band under the direction of Joshua Barroll kicked of the day’s program.

Mixing Afro-Cuban funk with reggae, KG Omulo was the perfect band for the Bowl audience. On originals such as “Moving Train,” “Quality Woman,” “Acuna” and “No Means No,” Omulo and his band sounded like a cross between Ladysmith Black Mambazo, Bob Marley And The Wailers, and early Funkadelic. Guitarist Michael Schmidt’s screaming wah-wah guitar locked in with bassist Dave Whitaker’s solid bass lines. Omulo is also a charismatic vocalist and front man. But it did feel as though Omulo and his band would have had a greater impact had they performed later in the day or evening.

Harper’s composition “Capra Black,” and McBee’s “Peace Maker” sounded like Miles Smiles era modal jazz, but needed something more. All of these seasoned musicians played strong solos but the material seemed redundant. Cables’ dynamic and inventive piano playing stood out among the rest of the group. Overall, however, the Cookers did more simmering than cooking.

Chico Trujillo brought the pace back up from the second they took the stage with their Chilean cumbia, ska, and Latin rhythms. Though the band was energetic and high spirited in its stage presence (especially lead singer Macha), the music was repetitive and sloppy. And, though the focus was on the percussionists and lead singer, it was saxophonist Fela, and trumpeter Zorrita, along with keyboardist Joselo, who held together the band’s melodies.

Terri Lyne Carrington and bassist Mimi Jones

Terri Lyne Carrington’s Mosaic Project played one of the most tasteful and consistently brilliant sets of the day — one of the highlights of the entire Festival. Along with Carrington on drums, the Mosaic Project consisted of Tia Fuller: alto sax, Ingrid Jensen: trumpet (both also featured on The Cos Of Good Music), Mimi Jones: bass, Patrice Rushen and Helen Sung: piano, and Linda Taylor on guitar with special guest vocalists.

Nona Hendryx added her one of a kind vocal style on her classic “Transformation” (Re-recorded on The Mosaic Project album), Gretchen Parlato (who has proven to be one of the finest vocalists in contemporary jazz) brought her sweet sultry sound to “Simply Beautiful.” The melodic interaction between pianists Rushen and Sung was astounding. Carrington’s strength as a drummer is in her subtlety. Her flourishes were so delicate behind Dianne Reeves on “Echo,” that it almost sounded as if she were laying out completely — even though if she were, the foundation would have been lost. It takes a true musical thinker to pull that off successfully.

Angela Davis’ spoken word addition to “Echo” was a startling presentation of her “New Freedom movement.” Fuller and Jensen’s horn lines wove in and out of the melody, creating a dream-like effect that was a perfect match with Carmen Lundy’s vocals on Geri Allen’s “Unconditional Love.” The music was hypnotic and sensual on “Soul Talk” with Dee Dee Bridgewater on vocals. Every note between Jensen, Fuller, Rushen, Sung, Jones, and guitarist Linda Taylor was perfectly placed without losing spontaneity.

On “Show me a sign,” Carrington ended the piece with a thunderous, Art Blakey-esque drum solo. Bill Cosby was so blown away that he took the mic and thanked Carrington on behalf of the Playboy Jazz festival, urging her to stand and take a bow.

The Preservation Hall Jazz Band

The Preservation Hall Jazz Band (Mark Braud: trumpet, vocals,band leader, Ben Jaffe: sousaphone, bass, creative director, Rickie Monie: piano, musical director, Joe Lastie Jr.: drums, Clint Maedgan: saxophone, vocals, Charlie Gabriel: clarinet, vocals, Freddie Lonzo: trombone, vocals, and Frank Demond: trombone) just may be the most traditional New Orleans sounding jazz ensemble the Festival has ever presented. The ghost of Louis Armstrong and his Hot Fives and Sevens was felt on “Down On Bourbon Street,” “Swing That Thing,” and “Sweet Substitute.” Braud, Gabriel, and Maedgan shared the lead vocal spots. The concept of collective improvisation (which began in New Orleans with The Dixieland bands) was what The Preservation Hall Jazz Band was all about. Each reeds man soloed at once in a way that was orchestrated and organized but irresistibly fun and danceable. Jaffe’s bouncing bass line on the sousaphone got the Bowl crowd up on their tipsy feet.

For the blues portion of the festival, Keb’ Mo’ and his band played a set full of whimsical R&B based urban blues like “The Whole Enchilada,” “Government Cheese,” and “One Way Home.” Though Keb’ Mo’ is know mostly for his slide guitar work, at the festival, he stuck to playing straight blues leads on a Strat, which sounded like the yuppified blues style of Robert Cray. Though a talented singer, songwriter, and guitarist, with a more than capable band, it was hard to tell one song from another during this set. There wasn’t much blues to this music.

The real excitement in his program came when Keb’ Mo’ brought out the legendary Barbara Morrison for a duet on a Chicago blues shuffle version of Bobby “Blue” Bland’s “Further On Up The Road.” Morrison can belt out the blues like no one else and has an electrifying stage presence which was needed throughout the set.

Ramsey Lewis

The Ramsey Lewis Electric Band had this jazz/soul pioneer experimenting with a more soft jazz/ fusion sound that didn’t seem fitting. The group’s reading of The Stylistics “Betcha By Golly Wow,” Lewis’s own “Brazilica,” Stevie Wonder’s “Living For The City” and Earth, Wind and Fire’s “Sun Goddess” (which Lewis had recorded with the band and referred to as “Wayo”) all felt flat. Tim Gant’s electric keyboards sounded too synthetic and cheesy.

Lewis sounded best (and even looked happier) when sticking to his more gospel influenced material and playing tunes that him famous — “Wade In The Water,” and his biggest hit “The In Crowd” – while alternating between acoustic piano and Fender Rhodes electric piano with ease and focus.

The Playboy Jazz Festival can and has ventured pretty far from jazz but no more so than having Robin Thicke perform on the bill. Thicke and his band brought their boy-band sounding bubblegum pop to the Bowl and there were plenty of young, screaming girls present to enjoy it. Not much more to say about it than that.

Jack Bruce and Cindy Blackman Santana

Closing the performance was the hardest, loudest, and most creative experimental group of the entire Festival. Spectrum Road (Featuring Vernon Reid: electric guitar, Cindy Blackman Santana: drums, Jack Bruce: bass, and John Medeski on keyboards) is a newly formed tribute band to the late great drum giant Tony Williams. The band performed material from their self titled debut album Spectrum Road such as “Vuelta Abajo,” “Where” and William’s “There Comes A Time” with Jack Bruce on vocals. The music was tight but chaotic, piercing, arrogant, skillful, and daring in all the best ways. These characteristics match Tony Williams’ playing and personality to a tee.

Reid’s fierce, frenetic guitar playing fused marvelously with Blackman Santana’s drumming which echoed that of Williams. Jack Bruce’s guttural, busy bass lines followed Blackman Santana’s bombast no matter how far out she would go. Medeski’s B3 organ sound was the only element that didn’t always fit. It was too heavy for this already ferocious sound.

Blackman Santana and Reid were clearly the stars of the group, even facing each other for most of the set, feeding off each other’s energy. The group sounded like a combination of Sonny Sharrock’s early ‘90s instrumental experiments, mid-‘70s Santana, and Vernon Reid’s work with his band Masque, but more powerful.

Blackman Santana’s long drum solo after “Where” was one of the great moments of the festival. She never repeated an idea twice and though she was inspired by Williams, she proved to have an energy all her own, all powerful and all woman.

The band even did a cover of Cream’s “Politician” (once again, fitting for the times), in which Jack Bruce’s vocals sounded the same as they did when he performed the song in 1967. Reid and Blackman Santana put Eric Clapton and Ginger Baker to Shame, taking this 60s psychedelic blues anthem far beyond the stratosphere.

And so another Playboy Festival has come and gone. Some may bicker about the “Lack of real jazz at the festival,” but the number of innovative artists certainly outnumbered the fluff, and there were plenty of surprises. Most importantly, everyone was having fun, which is ultimately what this Festival is all about.